dmccombe7

The number of times i had to spread the load across different sockets to get the max load from the 35A fuse obviously leaving room for anything else on the same circuit. Typically 4 spots each side stage front and some others that could only be used when minimum spots were in use. Oh those heady days were such fun. Dave

Band i was in last year was called The Monday Club. Reason :- we didn't have a name picked out yet and guitarist wanted us to play his birthday. When he booked the venue they needed a band name and all he could think off was The Monday Club because we rehearsed on a Monday night. Dave

I have a full LED DMX system that i put together in 2012. The desk is small and compact i think its a Showtec and not too expensive either. The fades are pretty good as far as i can remember. From full power down to a very faint light almost OFF. You can have them fade change between colours at anything from fast to very very slow. They were cheap cans to buy at the time mostly 2nd hand but in great condition. Biggest issue with them is programming the desk and trying to get your head round that DMX thing. The other downside is that the older LED lamps weren't the brightest cans and i think i might invest in some modern cans which are far brighter. Some rectangular flood boards would be worthwhile too. I also have the lazer, projectors and DMX smoke machines that can be controlled either from the desk or by a seperate remote control unit. One is front pushing and the other behind the drummer pushes straight up to ceiling and fills stage and then falls downwards onto stage. Because the LED lamps are lightweight the stands don't require a large footprint and i can usually stand them behind or rear corner of any PA we use. I have the goalposts at the back where rear lights face down and forward mainly on to the drums. The lazer and 2off projectors are hung from this too. Another 2 projectors at side of drums on floor facing forward and upwards give nice beams thru the fog. Total maximum power used with everything on is 7A and that includes the smoke machines when heaters are on. Means i can operate the full thing from one socket. LED's have some advantages too. I have used the old fashioned systems in 80's of PAR56 type cans and Halogen backlighting with small pencil spots shining thru smoke from smoke machines. Heavy to carry about and hang and very warm to play under plus always the power issue and limiting depending on the gig. A lot of gigs didn't have a 440V supply either. Only the bigger venues and they had their own lighting rigs. Dave

My Mesa rig is only putting out max 300W because i'm using the 8 ohm cab but its still never more than 10 o'clock on master volume. It gives me a great tone even at lower volumes however if i do crank it up i get an even better sound from the cab which i think is 600W. I do wear ear protection if rehearsals or gigs get beyond a talkng level on stage. We're not really a loud band on stage. Its just that the bigger cab or should i say deeper cab (physically) seems to give me a fuller sound than the smaller cabs i've used and i feel better and in my mind i play better because i'm confident of my overall sound. It does go thru FOH at the end of the day but i like to hear a good on stage sound too. I've not always worn ear protection and i think i have a little tinitus but not enough to bother me. Not sure if that's with playing in bands in last few yrs, motorbikes (now wear ear protection on bike too) or if it was something that's happened from my work as an engineer in gas plants. No matter what, it was caused by me not wearing protection when i should have been so everyone out there should really be wearing ear protection. Dave

Mate just emailed this clip. I was fair impressed and entertained all the way thru. What do you think ?

NBD is compulsary. Nice one. I might actually buy myself another Ric bass. Last one i had was in 80's. Probably a nice blue one. Enjoy and please share your thoughts and delights. Dave

New stage gear for Glam Rock band i'm in. Made by same guy who made Glitter Bands gear. 🎅 And we got a great price on our gear cause the drummer knew him from his days in Glitter Band in 90's. I'm chuffed. Dave

In late 70's / early 80's i used to get a mag called International Musician if i remember correctly with the hope of an interesting bass section. Then moved on to BGM but stopped buying it as i thought it was becoming a bit boring. I'd still buy if looking to buy new gear as the reviews could be quite helpful. Looking forward to the revised version.

It would help if using a Jazz style bass with twin volumes as depending on settings it changes the tone from the bass quite a bit. I think it would be quite a good thing. Also different GAIN settings on an amp would affect the amp tone. Dave

That would be in an ideal world but its never practical. Not many shops will lend you amps to try at gigs unless you're famous. I'm not, so there's a lot of trial and error for me. Dave

Think there's a shop does good revues. 2 guys usually one playing while the other adjusts the amp settings. Might be Andertons ?

Also use a standard bass to demo an amp. Something that most of us can relate to and will know the tone. And tell us what the bass settings are too. If a Jazz bass where are the pick up controls set and where is the tone set. Likewise a P bass or probably just need to know the tone setting on a P bass. Dave

Yep something that's more about the amp than the technical ability of the bass player. As you said with fingerstyle, pick, slap with some chord work thrown in. Each control should be demonstrated fully. Takes a bit of digging to find the good ones tho. Sometimes just a repetative bass line being played thru the demo is the way to go. Dave

Spinal Tap for me Bluewine. Another great band movie was Still Crazy with Jimmy Nail, Billy Connolly, Bill Nighy and Timothy Spall. Dave

Best sound i've ever had is thru my current Mesa Mpulse 600 into a Mesa PH212 cab. Preamp tubiness with reliable power stage and the 2x12 cab is deep and produces a tone that you feel around you with depth, warmth and yet the mids are still crystal clear. Not a lightweight cab but its a one man lift if i have to. Usually always get offere a helping hand from band members anyway. I've tried the 810 cabs at rehearsals but you really need to drive them to get the best from them. As someone mentioned earlier i was lucky enough last year to play thru a very early Orange OC 200 (i think that was the model) and a Hartke 810 and it did feel dep and warm. The tube power section def gives more warmth and depth of tone but i just wouldn't depend on an all tube amp these days. Dave

Think i would probably agree. As an overall package its hard to beat that album.

Not a prob visog. Its what makes for an interesting thread. Totally agree that Geddy's tone has changed quite a bit over the years. I just liked the way his WAL sounded so sharp and clear. It doesn't have that deeper bottom end but for me it suited the music at that time. Think i had WAL gas at that time too so that didn't help. Moving Pictures also another fav bass tone. I actually liked his sound from Farewell to Kings album which is also when i first saw them. Think his tone will always get us bassists debating but that's Geddy for you. Dave

Not at all. I had an issue with a metal splinter in my fingertip and altho i eventually managed to get it removed it was still quite painful so i tried Voltarol and it worked a treat. Don't use it now that its healed properly. But i have to say it did the job. I got that tip from a bass forum somewhere. Might have been BC or TB. Dave

Use some Voltarol on your finger tip when playing. Stops the pain quite well. Dave

Great news sir and the bug has bitten you again. Good to see you are back into playing again. Dave

Yep i was gonna go for Geddy's WAL sound but changed to Neil Murray who was probably more of an influence on me along with Jack Bruce. DAve

Neil Murray on this